Experimentik #63
Steffi Weismann, Janine Eisenächer, Ryoko Akama
3 x Solo
Steffi Weismann – microphoned tin cans, voice, bluetooth speaker
Janine Eisenächer – Doing sounds with things #1“ – objects
Ryoko Akama – objects, electronics and heat
Steffi Weismann – microphoned tin cans, voice, bluetooth speaker
Janine Eisenächer – Doing sounds with things #1“ – objects
Ryoko Akama – objects, electronics and heat
Steffi Weismann ist als Künstlerin und Kuratorin in den Bereichen Performance- und Klangkunst tätig. Schwerpunkte sind Audioperformances, Mixed-Media-Kompositionen und interaktive Klanginstallationen. Sie arbeitet an den Schnittstellen von analogen und digitalen Medien unter Verwendung verschiedener DIY-Technologien. Weismann verbindet Körper, Dinge und Klänge im Raum. Ihre Arbeitsweise und die Struktur ihrer Werke sind im Kern dialogisch und zeigen Bezüge zur Fluxusbewegung.
Seit ihrem Studium an der Hochschule der Künste Berlin ist sie mit ihren Performances international in Erscheinung getreten und mit mehreren Stipendien und Preisen ausgezeichnet worden. Sie präsentierte Soloarbeiten u.a. in Südafrika, Portugal, den USA und der Schweiz und arbeitet in zahlreichen Kooperationen, u.a. mit der Gruppe Maulwerker, Annette Krebs, Özgür Erkök Moroder, Çiğdem Ücüncü, Lorena Izquierdo und mit Janine Eisenächer, mit der sie bei Errant Sound die Reihe Ready Making zu Klanghandlungen mt Dingen kuratierte.
photo © Julia Cremers
Janine Eisenächer (*1983) is a performance and sound artist/ composer-performer, curator and artistic researcher. She develops solo, duo and group performances as well as object and sound installations, in which she discusses the conditions of (artistic) work and collaboration as well as forms of coexistence and ecologies of perception. In her lecture and sound performances, she works in a spatial and site-specific way with objects and materials (‘things’) with which she creates sonic spaces through movement- and action-based material sounds and noises. In this way, she investigates the interactions between hearing, seeing and touch between human and non-human actors, as well as the processes of our production and perception of the world. In her sound installations she creates bodily-sonic ‚relationscapes’ (Erin Manning) in which she deals with the interrelations between one’s own movement/ locomotion, the environment and the sounds produced, perceived and recorded. The current focus in both her artistic work and research lies on sonic epistemologies in performative sound art/ sound performances and on hearing coexistence based on the manifold relationships between us and our environment, to the things and beings that surround us and have their stories.
Since 2006, Eisenächer has presented her works in numerous performance art-festivals and sound art-events across Europe, North America and Aotearoa New Zealand, e.g. at Errant Sound, DOCK 11, Haus der Berliner Festspiele and sophiensaele in Berlin/DE, MOS Art and Terminal 08 in Gorzów/PL, WUK in Vienna/ AT, Spazio Arka in Assemini/IT, SOFIA UNDERGROUND in Sofia/ BG, Gallery NON in Istanbul/TR, Panoply Performancy Forum in New York/US, VIVA! Art Action in Montréal, FADO in Toronto, THE PERFORMANCE ARCADE in Wellington and Audio Foundation in Auckland/NZ. She received the artist-in-residence-stipend of the Goethe Institute in Wellington/NZ (2017), a residency-stipend at the Studio for Electroacoustic Music at the Akademie der Künste, Berlin (2022) and a working stipend (New Music/Sound Art) by the Senate of Berlin (2023). In 2022, her collaborative composition „In/Still Life“ (with Andrei Cucu) was shortlisted for the Prix Phonurgia in the category of Sound Art. Eisenächer studied theatre and comparative literature as well as philosophy at the Free University of Berlin and holds an Magistra Artium-degree. Since 2019, she is a member of the sound art-project space Errant Sound in Berlin where she carries out the curatorial and artistic research-projects on performative sound art with things called “READY MAKING“ and “Mind the Sound“ with Steffi Weismann and pursues further collaborations with Andrei Cucu, Gerriet K. Sharma and Verena Lercher.
photo © Marie Letkowski
Ryoko Akama: A Japanese-Korean working with installation, performance and composition, residing in Huddersfield, UK.
Her works sculpt domestic appliances and scrap wastes with invisible energy, especially interested in heat, magnetism and gravity, into kinetic contraptions. Her site-specific works infuse both aural / visual occurrence as one entity, creating ephemeral situations that magnify silence, time and space. Interested in nature of relativity, culture and system, her artistic practice examinesinm architecture, environment, conflict and fluidity.
She also composes and performs alternative scores and text works in collaboration with other artists and musicians worldwide. She is a member of the lappetites, electronic musician collective since 2000 and a member of the 9-piece band a.hop.
She is an artistic director for ame c.i.c., supporting DIY culture and underground art/music scene. She also co-runs the independent publisher mumei publishing and melange edition.
Selected installations include: not a matter but it really matters (Lo Pati, 2022, Spain), inefficient ways to comprehend the matter (Exhoraum, Austria, 2022), the way they are (Yorkshire Sculpture Park, 2019, UK), composition of happiness (Spanien19C, 2019, Denmark), kosetsu (Stedelijk Museum, 2019, Amsterdam), ploughs and harrows (Konfrontation Festival, 2018, Austria), listening with the city (Internationales Musikinstitut Darmstadt, 2018, Germany), odds and ends (Bunkier Sztuki Gallery, 2018, Poland), loiner or (Industrial Museum of Leeds, 2018, UK), Object Migration (Avant Art Festival + Sanatorium Dź wię ku, 2017, Poland) and 1→ 5 (Uppsala Art Museum, 2016, Sweden).
photo © FILMLOVE (2018)
Experimentik 2023 is supported by inm
Einlass: 20 Uhr